These are very evocative. They all speak to me of a difficult love affair or a foundering damaging relationship. perhaps I am wrong. The references to caves, trapped things... speak to me of sex imbalance and frustration the references of the sea speak to me of hopelessness and wishes for resolution and pain to be gone.
I like the fleeting asymmetric rhyming that appears here and there, hinting at structure and meter but which the absence of punctuation and jarring grammar never quite lets take hold if the poem and the reader... leaving lines with several possible meanings.
That's a very lovely and thoughtful response, Nick - thank you.
I think you are on the right lines with your interpretations. It's kind of all of that mixed into one, then presented almost as a stream of (emotional) consciousness. This is partly a product of the way I approach writing poetry, which is extremely organic and immediate. That's to say I do not spend inordinate amounts of time planning anything out or selecting words in the most careful, almost contrived manner possible. I will get an idea or feeling in my head, like the first few lines, along with the intuitive knowledge that if I sit down and write whatever I write will turn out to be good. And so I do, indeed, just sit down and write and see what comes out. It only takes me about as long as it takes to actually write/type the poem (i.e. 5 minutes). There is only ever very minimal editing, as I don't like the idea of messing up that precious thing that just came out of me.
Yes, there's a lot of frustration and rage. And certainly the bad relationships thing is also true - it's a thing about 'why don't you love me?' Love is such an easy thing to do so I simply don't understand people who find it difficult. There's nothing wrong with me so why don't you care about me - etc. etc.
The lack of resolution is a good observation and yes, I guess that is reflected in the structure, which teases with resolution but never takes hold, as you say. That's all quite true. And I am totally happy especially that you notice the sort of concealed rhymes, which are contained more in the cadence (rhythm, music) than the syllables, if you see what I mean. It's the feel of the words, or the sound of them, which often dictates my choice of words.
I'm really pleased you are getting a lot out of these - and definitely feel free to interpret them in any way you choose!
These are very evocative. They all speak to me of a difficult love affair or a foundering damaging relationship. perhaps I am wrong. The references to caves, trapped things... speak to me of sex imbalance and frustration the references of the sea speak to me of hopelessness and wishes for resolution and pain to be gone.
I like the fleeting asymmetric rhyming that appears here and there, hinting at structure and meter but which the absence of punctuation and jarring grammar never quite lets take hold if the poem and the reader... leaving lines with several possible meanings.
That's a very lovely and thoughtful response, Nick - thank you.
I think you are on the right lines with your interpretations. It's kind of all of that mixed into one, then presented almost as a stream of (emotional) consciousness. This is partly a product of the way I approach writing poetry, which is extremely organic and immediate. That's to say I do not spend inordinate amounts of time planning anything out or selecting words in the most careful, almost contrived manner possible. I will get an idea or feeling in my head, like the first few lines, along with the intuitive knowledge that if I sit down and write whatever I write will turn out to be good. And so I do, indeed, just sit down and write and see what comes out. It only takes me about as long as it takes to actually write/type the poem (i.e. 5 minutes). There is only ever very minimal editing, as I don't like the idea of messing up that precious thing that just came out of me.
Yes, there's a lot of frustration and rage. And certainly the bad relationships thing is also true - it's a thing about 'why don't you love me?' Love is such an easy thing to do so I simply don't understand people who find it difficult. There's nothing wrong with me so why don't you care about me - etc. etc.
The lack of resolution is a good observation and yes, I guess that is reflected in the structure, which teases with resolution but never takes hold, as you say. That's all quite true. And I am totally happy especially that you notice the sort of concealed rhymes, which are contained more in the cadence (rhythm, music) than the syllables, if you see what I mean. It's the feel of the words, or the sound of them, which often dictates my choice of words.
I'm really pleased you are getting a lot out of these - and definitely feel free to interpret them in any way you choose!